Please bear with me for a mercifully brief autobiographical aside.
When I was young, my parents were huge movie buffs, and we regularly went to cinemas to indulge. Movies were a big part of my life since I was young, and I came to love them very much. One of my favorite directors is Quentin Tarantino, and I'll never forget watching the layout of his films ("Pulp Fiction" and "Kill Bill" for just two instances) and feeling as though I'd found a creative soul mate. The way I diverge from his method is by not being as ruled by the movie form as he (understandably) wa$. To elucidate, Tarantino's films led to satisfying conclusions/resolutions, despite the odd internal sequencing, while my music tends to mirror more the internal experience by often leaving conflicts unresolved, or radically resolved to (say), a rare (and/or seemingly random) chord or sudden halt, explosion...MacGuffin. In regard to those latter mentioned attributes, my music is probably more indebted to the Hitchcock/Herrmann collaborations, particularly in terms of execution but not just.
This style of composition could be seen as either an oblivious concession to and/or more "artistic" example of of the ADD (i.e. popular) culture we live in, but it originally stems more from my own, vignette-laden inner experience. To be more specific, I often reflect on experiences in a cinematic way, and this is why much of my music sounds storyboard-ready. The ultimate goal for me is the substantiation of my own, inwardly experienced art and personality into music, and....
I will continue to pioneer this method of composition, mostly because I've found a compositional style that most accurately represents my inner reflections.